To begin these works, Theodore selected a color for each model—for example, teal for Hanna, white for Georgie, blood red for Angel, bright pink for Natalia. He then treated their skin as he would a canvas, coating it evenly, and then getting to work outlining forms like breasts, eyebrows, and arm bones in contrasting hues. Enter Verglas, who captured each model, responding to their motions and poses as he photographed them. One work entitled Natalia (2015) exemplifies this approach. In it, a starkly lit model has suddenly assumed an upright position, her vibrantly painted body caught in a blur.